7.31.2013

X-Men #3 [The Wood Pile]

X-Men #3 (Marvel): I had the chance to chat briefly with
artist Olivier Coipel at SDCC this year. Now, Coipel doesn’t know who the heck
I am, so I just asked him point blank: “What’s it like working with Brian
Wood?” He instantly beamed, explaining how Brian is very much an artist’s
artist (err, artist’s writer?) in that he’s always careful to provide plenty of
reference to the artist in his scripts. He never just drops an artist cold into
the work. I’d imagine that’s pretty helpful given the noticeable effort to make
this a more global action book. Wood has explained before how he’s grown tired
of books from a strictly American POV (for example, The Massive after spending
so much time deep in American politics with DMZ), so the globetrotting flair
for this dust-up with Arkea, from sly mentions of Mutant Mossad Agent Sabra to
the landing at an airport in Budapest, is a nice result. I seemed to be very
conscious of color in this issue. On the very first page, the sheen on Jubilee
and Rachel’s faces, in particular, looked downright lifelike thanks to Laura
Martin. It lends a certain realistic urgency to the story that would otherwise be lacking
with more garish "cartoony" coloring. Later, I absolutely loved the visual style of
Hellion, especially his uniform design, and the color display when he was using
his powers. Essentially, Arkea is trying to build an army she can control,
utilizing the latest advancements in neuro-prosthetics, emphasizing the kind of
future forward technology you should be dealing with in an X-Men book. The core
team lead by Storm is off dealing with that, while Kitty stays back at the
school to deal with another situation. The scariest part of Kitty’s challenge,
aided by the subtle humor of Bling, glad-to-see-her-again Pixie, and the
aforementioned Hellion, et al, is that they’re dealing with some type of Trojan
Horse style bomb, the effects of which can’t be immediately seen with the naked
eye, almost like some sort of EMP. One of the things I guess I do when I’m
bored at work(?) is look up random stuff and I decided to Google the name of
Jubilee’s baby “Shogo” to see if I found anything interesting. The Japanese
translation is “one’s ministry,” it’s also the name of the front man of a
Japanese rock group, as well as a video game, and infers upon the child that
they can be “spiritually intense,” and can either “sting or charm.” FWIW. This
issue is really packed with good stuff. I like how Betsy just has Arkea
point blank, with yet another slick aesthetic manifestation of her telekinetic
powers. That leads to a cutaway from the action that has a very cinematic flair
to it and requires that the reader provide some closure. Ultimately, we get to
an(other) interesting place with Storm. In Brian Wood and David Lopez’s (who’s
coming on for the next arc) previous X-Men run, we saw Storm making command
decisions that were at times at odds with people like Scott Summers and
Colossus. Here we see some tension brewing with Rachel, which Rogue asks her
about in the epilogue scene. I don’t necessarily think this is a major plot
point or anything, but I find it fascinating that Wood continues to include
small philosophical skirmishes like this as evidence of the general trials of leadership.
In my experience, good leaders are decision-makers who rarely make easy, quick, or popular
decisions that end up pleasing everyone. At the end of the day, Brian Wood’s
X-Men is full of intelligence, daring action, and interpersonal dynamics, which is essentially the
perfect trifecta of what any X-Men comic should be. Grade A+.

Going Rate @ Poopsheet Foundation

7.24.2013

7.24.13 [Weekly Reviews]

"Weekly Reviews" is a column brought to you with
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Lazarus #2: Previews Exclusive (Image): I picked up this
advanced edition at SDCC so I’ve had a couple extra days to ruminate on it, and
I think it might even be better than the first. While we already understand the
premise laid out in the first issue, the second pushes hard on world-building
and intensifies the stakes. I really enjoyed how Greg Rucka positions some of
the Carlyle children almost in a Corleone style trifecta. There’s a young,
different one, who’s favored, in the “Michael” role, a brash hothead like Sonny,
and a more passive Fredo type. There’s the added twist of Forever’s true place
in the family line, as well as the set-up for a confrontation with a Morray
Family Lazarus. The backmatter includes a riveting timeline running vertically
down the pages that fills in much of the backstory of how this world came to be
amid a financial apocalypse and how the crime families rose to power. Michael
Lark grounds the whole thing in a realistic style, creating a believable
reality, with visual touches like the Hollywood sign now being reduced to just
an H, O, O, and D, mirroring exactly what the burnt out urban area looks like.
Grade A+.

The Massive #14 (Dark Horse): As the Kapital approaches NYC,
a rogue US Navy faction is trying to forcibly arrest Callum Israel. There’s a
line in here: “We are the military. We are America.” that’s so devastating at
depicting what it’s all devolved into while the only legit gov’t has supposedly
relocated to relatively higher ground in Denver. Callum knows that an aircraft
carrier group isn’t supposed to be patrolling the coast and is ready to call
their bluff, while Ryan is increasingly becoming more of a player, and the Georg
flashbacks (not to mention his present day intervention) make him one of the most fascinating
characters to emerge in an already supremely interesting cast. Grade A.

Thumbprint #2 (IDW): Joe Hill, Jason Ciaramella, and Vic
Malhotra, for my money, are delivering one of the best and most memorable mini-series
of the year, which seems to be operating just under the radar of the typical comic
book consumer. Mallory is walking this fine line between penance for her past
sins and trying to absolve herself of her past and just move forward.
Artistically, Malhotra reminds me of artists like Matthew Southworth, Michael Lark,
or David Aja, contemporaries who are operating with a noir vibe to their style.
The aesthetic is back and forth between the gritty present day and the intense
psychological drive of the flashbacks from the Middle East desert campaigns.
Grade A.

Harbinger #14 (Valiant): This is basically the tail end of
the Harbinger Wars event, wrapping up the confrontation between multiple
factions, while also completing the Toyo Harada “origin” flashback sequences in
the process. Pete and his Renegades absolutely get their asses handed to them
by the converging forces of Bloodshot, Project Rising Spirit, H.A.R.D. Corps,
and the Harbinger Foundation. Within the space of about a year, Joshua Dysart
has cleverly crafted a post-modern self-aware treatise on young super-powered
adolescents that has all the raw emotional power of the original X-Men in the
1960’s. The difference being that there just aren’t any pleasant endings. The
fight sequences are chaotic and messy and never go according to plan. At one
point, Faith says “It’s not like the X-Men at all!!” You’re goddamn right,
Joshua Dysart. You’re goddamn right. Grade A.

7.23.2013

SDCC [Capsule Reviews]

I started to feel a little guilty that there hadn’t been any
new content on the site for a week, so I decided to post these quick capsule
reviews, which are essentially just extensions of the micro-reviews I’ve been
blasting out on Twitter. This is roughly a third of the floppies that were
shoved into my hands at San Diego Comic Con 2013. Enjoy.

Letter 44 #1: Black & White Preview Variant (Oni Press):
I fell in love with Strange Attractors and was eager to sample more original work from the writer. As far as I’m concerned, Charles Soule delivered one of the belles of the ball
with this book, which is an extremely clever hybrid of The West Wing and The
X-Files, in a way that’s completely different than Saucer Country, which was
pitch-billed as the same. That said, maybe this is more The West Wing meets
Apollo 18. It involves very thinly disguised analogues of Barack Obama and
George W. Bush, with the former succeeding the latter, and receiving a
heartfelt reflective letter, as is the presidential custom. In it, the “W”
character explains the unseen challenges of the role, including the fact that, oh by
the way, I know you all thought I was an idiot, but I did what I felt was in the best interest of the country, I entered the country into multiple foreign wars so that we’d have battle
hardened troops to thwart an alien invasion being detected somewhere in the
solar system by a covert manned space mission, good luck! Gulp. It’s socially relevant,
shifts perspectives, and already offered twists. It’s fantastic! The full color
regular series doesn’t come out until October, which now feels like an
excruciating wait after so deeply enjoying this preview copy.

Ten Grand #4: Convention Exclusive (Image): I’ve been really
impressed with previous installments of this book, and it’s still visually
enthralling, but for some reason this issue started to wear thin on me. There
were a couple of typos up front, some dense exposition about the “rules” of the
occult in this world, and I already feel as if the narrative is becoming both
a) a little repetitive, and b) a little convoluted as to who is doing what to
whom and why. Your mileage, of course, may vary. The “actual” regular fourth
issue isn’t due out for a couple of weeks, so you’re way ahead of the curve if
you snagged a copy of this at SDCC last week.

Fatale #15: Ghost Variant (Image): I tuned out of Fatale,
and Criminal, and much of Ed Brubaker’s recent work for that matter, so it was
a little awkward chatting with him about this series when he signed my copy.
It’s perfectly well executed and Sean Phillips’ style has never looked better
(much more refined and less “blocky” than the old WildStorm stuff I remember
him working on), but I’m just personally burned out on the whole noir thriller
vibe. The Darwyn Cooke cover on this edition is gorgeous, though.

Sidekick #1: Convention Exclusive (Image): It’s another big
debut from JMS’ Joe’s Comics imprint; this copy I was lucky enough to have
signed by both JMS and cover artist Whilce Portacio, while interior art is
handled by Tom Mandrake. The premise of a washed up sidekick trying to get his
act together after his mentor is supposedly gunned down is right up my
superhero deconstructionist alley because of the way it plays with the
Batman/Robin or Captain America/Bucky archetypes, but as caustically
interesting (the “Robin” character shaking down a prostitute for a beej in a
back alley) as it was, I just never felt that the campy awkward art ever stood
up to the gravitas of the script. Could be something I'll revisit in trade.

The Mysterious Strangers #1-2 (Oni Press): It was nice to
find a Chris Roberson project that I felt I finally connected with. This is a
really fun, stylish, fast-paced, 1960’s style supernatural espionage throwback.
I can see myself sticking with this for a while. Verity Mills is a name I’ll
remember, reflective of the type of distinct characters and characterization
being offered by this team. With other ongoing creator owned series like Letter
44 debuting, it really feels like Oni Press is making an effort to compete in
the space largely being led and dominated by Image Comics right now.

Chew #35: “Destroy Savoy” Convention Exclusive (Image): I
still don’t quite grasp the rabid appeal of this title. I know a person who
claims this as his favorite modern book, shoot, it wouldn’t even crack my Top
30. The art is reasonably attractive, but the visual gags in the background
didn’t make me laugh. Nor did any of the writing. It’s just a pleasant read
that I stare blankly at, endlessly waiting for the funny to arrive. Typos aside
(a growing concern with the books I picked up at SDCC, as you’ll see), I think
Layman and Guillory have built a very fascinating world to play in, but it doesn’t
tickle my funny bone in the way its rabid fans usually describe.

Misc. Others: I picked up and read through about half a
dozen other small press books from SDCC that were just generally awful. I’m not
trying to subtweet; I’m just not interested in naming names when it comes to
these books. I’m still old-school enough to think that even bad press is good
press. These books just didn’t offer any type of compelling or memorable
premise, the dialogue was completely unnatural and failed the “read it out loud”
test, ideas that could have been crisply relayed in a page were strung out over
several, I generally think story ideas should have a discernible beginning, middle, and end, and the art was atrocious, looking like failed desktop publishing
experiments from the 90’s.

I saved one for the tail end of this particular
reading session because it superficially looked better. It had some really
attractive art that reminded me of the wispy detail of old Joe Quesada, circa
his X-Factor effort with Peter David. But, I cracked this book open to find
literally 10 typos on the first page. When I say “literally” here, I literally
mean literally, not figuratively. There were actually 10 typos on the very
first page. I’m confounded by this. I don’t understand the logic or
carelessness in the chain of events that leads from someone wanting to be a
comic book writer, to writing an actual script, to finding an artist, inker,
and colorist willing to work on the book, to spending loads of money publishing
it, spending another load of money getting yourself to the big dance at SDCC,
and then having the gumption to hand your project over to a critic as an example of
your foot-forward best work, only to discover 10 typos on the very first page.

Really, small publishers? Really? Nobody caught any of these mistakes at any
stage of the process? There were an additional 16 typos littered throughout the
book, but 10 on the very first page? Really? I can overlook something
discretionary like not using my beloved Oxford Comma, but this stuff was way more
basic. Not knowing how to use commas and semicolons correctly? Not knowing that you're supposed to
capitalize the names of continents as proper nouns? Randomly omitted words? Extra letters just
haphazardly sprinkled about like garlic salt and inserted into words for extra flair? Using “citys” and “city’s”
and “cities” interchangeably? Repeatedly? Come the fuck on.

7.15.2013

Once More Unto The Breach, Dear Friends

Yep. It’s time for San Diego Comic-Con this week, so much like last week, due to a mix of family and friends in town, as well as general comics “stuff” happening, regular reviews will probably be late to non-existent. I was able to post advances of Star Wars #7 and True Lives of The Fabulous Killjoys #2 last week, in addition to a smattering of mini-comics at Poopsheet Foundation for you all to chew on, but I never got to full reviews of the epic East of West #4, the high concept and high drama of Sheltered #1, or the peripheral world-building as core story focus in Astro City #2. Be sure to follow me @ThirteenMinutes to get micro-reviews in lieu of the full length variety if I happen to sneak some reading in this week. I just received comps of Numbercruncher #1 (Thanks, Titan Comics!), as well as Prophet #37, and Dream Thief #3, so there’s always a chance.

In any case, here are the books I’d spend my money on this week: Conan The Barbarian #18, Dream Thief #3, and Harbinger Wars #4. I also plan on giving Day Men #1 and Batman ’66 #1 a flip through at the LCS. On the GN front, there’s Conan The Barbarian Vol. 14, Think Tank Vol. 2, and The Killer HC Vol. 4, with The Killer Omnibus TPB Vol. 1. If you’re in San Diego this week (for SDCC or otherwise), please consider coming out Wednesday 7/17 at 9am to my retail sponsor Yesteryear Comics. We’ve got Ed Brisson & Johnnie Christmas signing Sheltered #1, including the Exclusive Retailer Variant Cover. It was a great first issue, combining the pre-apocalyptic high concept with taut interpersonal drama. I think it has all the potential to be “The Next Walking Dead.” Lastly, if you’re at SDCC and want to pass me review copies or just say hey, home base is courtesy of my friend Ryan Claytor at the Elephant Eater Comics table (P-16) in the Small Press Pavilion, directly across from Oni Press.

Men's Feelings @ Poopsheet Foundation

7.09.2013

The True Lives of The Fabulous Killjoys #2 [Make Some Noise!]

The True Lives of The Fabulous Killjoys #2 (Dark Horse):
It’s becoming increasingly clear with the Battery City newsfeed that the entire
population of the former LA Basin (revealed in the interesting backmatter for
those not already in the know) is being systematically brainwashed and stripped
of their individuality by Better Life Industries (BLI). Gerard Way and Shaun
Simon focus this issue on Killjoy Sharpshooter-cum-DJ Cherri Cola as he tries
to find and protect our young messiah protagonist near the ruins of The Nest.
During the last issue, The Nest kept visually reminding me of something that I
couldn’t quite put my finger on; I now think that it reminded me of the head of
Zauriel, an angelic Grant Morrison creation (in lieu of being able to use Hawkman)
during his old JLA run. Everyone knows antagonist Korse is based on Grant
Morrison, so now I guess there’s some sort of ouroboros
serpent-eating-it’s-own-tail thing happening. Anyway, I liked the mystery the
first issue laid out quite a lot, not insulting the audience with exposition,
simply world-building organically and letting the audience catch up and
interact in that tertiary way that comics as a medium does so well. I like this
issue even more; what it lacks in slightly obtuse mystery, it makes up for with
more accessible intrigue, as the narrative intent seems to snap sharply into
place and settle into a rich groove. There’s so much to like occurring in this
issue, from sex bots attempting to secure new batteries and encountering
nothing but the knotted bureaucracy keeping the populace in check, to Korse
being demoted for surprisingly twisty reasons, to Killjoy costumes enshrined in
a radio station that functions as the voice of the underground, to an uprising
about to pop off against Battery City from out in the desert. I said it last
time, but I’ll say it again. I believe this is THE art of Becky Cloonan’s
career unfolding before our eyes here. She just gets better and better with
each successive project. It’s so crisp and polished, capturing the pop
iconography style (thanks to vibrant colors from Dan Jackson), as well as
bristling with a dangerous energy lurking just below that taut surface. Her
variable line weights give characters just the right attitude, whether it’s
anemic frailty in the subtle emotional scenes, or a bold sense of power in the
more earnest and emphatic sequences. There’s such a robust sense of design to
her work, evident in the costumes, the cities, and the arid environments. “The
Cloonan Aesthetic” (if such a thing now exists) is about counterpoints. It is
thick and substantial, yet light and swift, moving effortlessly between those
poles at will, from mean close-ups you can’t escape, to people hidden in the
shadows and their own insecurities, she races the camera in and out at with
heart-pounding effect. At this point, there’s no doubt in my mind that The True
Lives of The Fabulous Killjoys will be cited as one of the year’s best books,
inhabiting that elusive position between mainstream appeal and indie
credibility. Grade A+.

Star Wars #7 [The Wood Pile]

Star Wars #7 (Dark Horse): I’m betting that Brian Wood could writer a killer Black
Widow book if Marvel ever offered up that character to him. This issue of Star
Wars, and the run itself to some extent, is filled with increasingly clever
espionage and counterintelligence traits. The Star Wars property has a rich
tradition of such activity too, whether it’s Luke and Han gallivanting around
the Death Star dressed as Stormtroopers, Lando going undercover in Jabba’s
Palace to save his friend, or Leia posing as Boushh to do the same, just to
name a few top of mind examples. Here, the main thrust of the issue sees Luke
and Wedge attempt to infiltrate a Star Destroyer. It’s the latest example of
Wood taking cues from the originals and then extending beyond them. It’s a
seamless way to stay consistent with the source material thematically, yet
world-build with fresh new content in the interstitial space between well
consumed episodes. The biggest “news” regarding this issue is that Carlos D’
Anda is taking a break, so frequent collaborator Ryan Kelly joins Brian Wood
for this arc. Kelly draws Luke’s face a little flat at times for my taste, but
is otherwise able to play with a variety of sets and clothes and craft as Luke
and Leia are still reeling from emotional fallout, but must develop a tactical
plan to ferret out the spy. The perspective might be just a touch off with the
angle of the blasters coming from Slave I, but that’s admittedly being
extremely nitpicky (like all annoying Star Wars fans are). For the most part,
Kelly excels at depicting this world; his tech is convincing, his Emperor is
menacing, and his Leia is confident and beautiful. He might even have edged out
D’Anda with my favorite illustration work for her. The crisp colors of Gabe
Eltaeb certainly help the aesthetic of the book stay consistent during the
artist transition; I especially liked the gorgeous dark shadows he coats some
of the Tatooine bits with. No surprise, but I continue to enjoy Wood’s
depiction of the various women in this universe. Obviously Leia is front and center,
still in charge of the stealth squad as she brings Luke fully into the fold to
hatch a new plan, and they attempt to work their problem from Colonel Bircher’s
end. It’s an aggressive, high risk plan, but that’s basically what the Rebel
Alliance excels at. They rely on daring and skill instead of mass numbers in
battle like the Empire does. So many of the key roles are female. Leia is off
on a(nother) mission of her own, Mon Mothma is the overall leader of the
Alliance, Han’s new friend helping him “float away with the rest of the
garbage” is a woman, Prithi is a daring pilot currently in a critical position,
and Birrah Seah is caught in the power struggle between the Emperor and Lord
Vader. It’s an egalitarian approach to the gender roles that never feels
forced; it’s a natural use of the resources that happen to be present at every
level of the conflict. Confession: If I saw a Hound’s Tooth toy, I’d probably
buy it. Grade A.

Mr. Wolf #1-2 @ Poopsheet Foundation

7.08.2013

The Gettysburg Address [Graphic Adaptation]

The Gettysburg Address (William Morrow):The Gettysburg Address is a deceptively simple title for a complex, but accessible work. It’d
be easy to casually dismiss this book at first glance as an artistic interpretation
of one of the most famous speeches in US History (JFK and MLK are the only
others that really even come to mind). While it does ultimately decipher
Lincoln’s words line by line, it’s also much more than that. Writer
Jonathan Hennessey and artist Aaron McConnell create exceptional context for
Abraham Lincoln’s 200 word speech by positioning it relevant to The Declaration
of Independence and the US Constitution. The Declaration essentially supported
the notion of rebellion and seccession on moral, if not legal, grounds, and is
a “small government” document. The Constitution supports the idea of preserving a Federal
Union, emphasizing the strengths of big government, and The Gettysburg Address
keys off of that tension inherent in our country’s guiding documents with very precise
word choices imbued with specific meaning. The creators are careful to tell this tale
from the alternate POVs of slaves, soldiers, and statesmen. Hennessey and
McConnell’s interpretation takes what could be dry and rote facts and fills them
with life. McConnell’s art in particular is somehow dirty and majestic all at
once, with lively colors and thick ink, capturing the horrors of the US Civil
War, but also the grandeur of the experiment the Founding Fathers must have envisioned.
There’s a very painterly two page title spread that is an early cue to
McConnell’s artistic ability. Now, I know a lot about the US Civil War. I’ve
read tons of books, I’ve seen all the movies, and my father is in the antique
business, with a personal passion for military pieces from the Civil War, and he
bombarded me with history growing up. I studied the Civil War from a few
different angles in college. But, I can safely say that I learned more from this
book than I ever did in my K-12 education, so it makes me think that this
HarperCollins imprint has unlocked the medium in a way that could be illuminating
and entertaining for so many school age children across the country. For example,
The Gettysburg Address made me understand The Articles of Confederation as an
experiment in small government (that was too small) better than any teacher
ever did. It made me understand the “compact theory” and POV of The Confederacy
opting out of The Union in a way I never fully appreciated before. I never knew that
Vermont declared its independence from New York State. I never knew that
Connecticut and Pennsylvania had an armed dispute. As a student of history, I
can’t help but feel that several educators failed me! The Gettysburg Address
covers lots of ground, from the characteristics of the continent, regional and
cultural differences between North and South, the invention of the cotton gin, and
how all of that influenced an economy dependent on slavery, to European
influence, to Robert E. Lee being such a key figure, to presidential fame, military
struggles, demoralized troops, anti-war citizens, and the city of Richmond,
Virginia. Imagine today’s equivalent, 5.5 million lives being lost in a US
Civil War, and you have some idea of the horror of this conflict, and how poor
old Abe Lincoln’s speech was supposed to put everything back together and
justify a war on tenuous legal ground, but implicit moral and aspirational
grounds for the country. The book’s main theory posits through interpretation
of Lincoln’s actions and intent that The Gettysburg Address is a quintessentially American piece of writing. It wrestles with the very idea of what our
national character is. The Gettysburg Address was commentary on the war, the
war was armed commentary over tension between The Declaration and The Constitution,
those two documents largely create the very vision of the country. The Gettysburg Address should be required reading for every citizen of the United States. Grade
A.

The Outliers [Small Press]

The Outliers (Alternative Comics): There’s certainly no denying the sheer artistry on display
in Erik T. Johnson’s beautiful new project. From the dust jacket and French folds,
to the illustrated guide to primal fears on the covers (visages on one side, descriptions
on the reverse), to the paper quality, the letterpress printing technique, and
so on. For those naysayers decrying “print is dead!” with the rise of digital
comics, I say “BAH!” Digital comics will never be able to capture the tactile
presence of something like The Outliers, which is a prime example of small
press comics transcending the basics of the medium to achieve objet d’art
status. The Outliers is a careful exploration of our prejudices and jingoistic
attitudes, not to mention the fact that you just never know what’s going on
behind the scenes with most people. Too often, we see only the masks they wear
for the outside world and base our perceptions on that. There is mystery
surrounding The Outliers, which I greatly enjoyed. It’s about a kid, some would
say a “freak,” living a sheltered life. The freak kid endures a freak accident
during a freak storm and encounters a freak creature with freak professors and freak
languages following. It’s freaky, ok? I don’t mean that as a pejorative
descriptor, only in the sense that Johnson is able to effectively evoke mood,
vibe, and place. It’s easy to imagine the events in Chapter One of The Outliers
occurring somewhere in the wet wilderness of the Pacific Northwest. So much of
the work is done with minimal dialogue that it’s easy to imagine The Outliers
playing like some silent short film, a cross between the sense of wonder and
discovery in The Iron Giant and some of the Pixar shorts like La Luna, perhaps
revealing Johnson’s career as a designer and illustrator. Color plays an
integral role in the success of The Outliers. Johnson initially uses a lush
green to emphasize the rain drenched wooded adventure. Later in the story, he
switches to soft and contemplative blue hues, which seem thematically
appropriate. He uses inky emotive lines for Tsu, a character who rarely speaks
conventionally, like some great facial characteristic hybrid of Craig Thompson
and Simon Roy. The Outliers seems to be fascinated with the fringes of society,
the titular people, places, and events that lie on the outer edge of our daily
existence or just on the periphery of our understanding. With great induction to his world
and an exciting cliffhanger, all I can say is “more, please.” Spoiler Alert,
but we’re probably looking at one of the best books of the year. Grade A+.

Ed Brisson & Johnnie Christmas @ Yesteryear Comics [Signing]

I’m happy to announce that my retail sponsor Yesteryear
Comics already has their fourth in-store signing scheduled for 2013, featuring
Ed Brisson (Comeback, Murder Book, Near Death) and Johnnie Christmas (Murder
Book, Continuum: The War Files). They’ll both be in the store next Wednesday
July 17th at 10am to celebrate the release of their new creator owned book
Sheltered #1 published by Image Comics. Sheltered is billed as a
“pre-apocalyptic” tale about fringe survivalists prepping for multiple end of
the world scenarios. The high concept is a twist on traditional
post-apocalyptic fare and the concept art over at Christmas’ site looks
fantastic. This could be the next hit book from Image Comics. Come get your
Exclusive Yesteryear Comics Variant Cover by Johnnie Christmas! Additionally, a
CGC Representative will be on-hand to verify signatures for those of you
interested in submitting books for professional grading. I’ll be working this
event, so if you’re in San Diego for the week of Comic-Con (!) then please stop
by to say hi, support the renaissance of creator owned comics, and support my
friend Michael, owner of Yesteryear Comics, the region’s best retailer. For
more information, jump in and follow @YesteryearComic @EdBrisson @J_Xmas
@ThirteenMinutes or check out Facebook.com/YesteryearComics.

7.06.2013

7.03.13 [Weekly Reviews]

"Weekly Reviews" is a column brought to you with generous support from our retail sponsor Yesteryear Comics. Make Yesteryear Comics your first and only destination in San Diego for great customer service and the best discounts possible on a wide selection of mainstream and independent titles. Customers receive an attractive 20% discount on new titles during their first week of release. Yesteryear Comics is located at 9353 Clairemont Mesa Boulevard.

Deathmatch #7 (Boom! Studios): In about half a dozen issues, Paul Jenkins and Carlos Magnohave created an instant set of superhero archetypes to deconstruct that I care more about than the Marvel and DC fare that they subvert. This issue witnesses additional match-ups, like the long awaited showdown between Sable and Mr. Chuckles (imagine a female Batman and an even more clownish Joker), Meridian finally comes clean with what really happened at The Rift, and the whole thing is one of the most thrilling and entertaining books of the year. Grade A.

Catalyst Comix #1 (Dark Horse):Joe Casey comes at this thing and attacks the genre like he’s working three sides of the same triangle. He fast forwards to the apocalypse like a Kirby-esque shot of adrenaline, revitalizing Titan in a post-9/11 number with Dan McDaid, where the protagonist questions his own identity as time marches on. Are superheroes there to deal with weird threats or does their very existence actually create them? The second with Paul Maybury journeys to a cosmic well that’s the mother of all threats with Amazing Grace in a shared universe that’s like Godland meeting 2001. This is Joe Casey’s “Final Frontier.” The third entry is probably the most fun, with Ulises Farinas, reminding me of a 1970’s Power Man and Iron Fist riff. There’s a suit who goes-a-recruitin’ for Agents of Change, with Warmaker and Wolfhunter, and mentions of Rebel and Ruby. It’s important to look at these three stories as a triptych forming one image. We’ve got New York, LA, and The Cosmos. We’ve got superheroes, space, and street level. We’ve got what feels like the 70’s, the 80’s, and the 90’s in a modern package that’s akin to Rob Liefeld asking Brandon Graham to come in and revitalize Prophet at Image (with other creators also taking on other 90’s work, Joe Keatinge on Glory, etc.). Here, it’s Mike Richardson asking Joe Casey to come in and run wild with old Dark Horse shared universe ideas from the 90’s. With quirky styles, social relevance, and tons of content for just $2.99, this has heaps of potential. Grade A.

Satellite Sam #1 (Image): It seems like people are either loving or hating this book, but I’m leaning toward the former. The only really negative things I can say about Fraction and Chaykin’s latest offering is that, at times, the art felt really grainy and smudgy – to the point you can’t even read the names of the cities above the clocks on the wall on the very first page – but maybe that was done intentionally to reflect the snowy TV reception of the time period this story is set in(?). I also thought the pacing was pretty inconsistent, going from being very decompressed (literally 5 pages of a chick walking the streets of New York trying to find their titular star) to wildly fast and staccato by the end, to packed with dense dialogue in the beginning. It just wouldn’t settle down. That said, I liked it! From choice turns of phrase like “piece of strange,” to the insider baseball, behind-the-scenes, retro-Newsroom, Sorkin-esque network politics, manic magic old-timey drama of producing live TV, and subversive 1950’s undercurrent, it seems like Chaykin has shifted down to the point I can stomach his sometimes over-the-top aesthetic, and Fraction is redlining it up where I like him the most. I'm in. Grade A.

Ten Grand #3 (Image): I read most of these books days ago and did all sorts of things before sitting down to write reviews up, so (gasp!) I’m having a hard time remembering what went on in this book. I remember thinking it might have been the best issue yet because of the way the stakes are upped by the end, and how JMS and Templesmith continue giving us flashbacks that fill in the earlier years of the people involved. Grade A-.

Suicide Risk #3 (Boom! Studios): Ditto. I remember that some type of “slow burn LA Confidential” type of vibe stuck with me long after I read this issue. Grade A-

Grand Gestures @ Poopsheet Foundation

James Asmus & “The Goat” @ Yesteryear Comics [Signing]

I’m happy to announce that my retail sponsor Yesteryear
Comics has their third in-store signing scheduled, featuring James Asmus (Thief
of Thieves, The End Times of Bram & Ben, Gambit) and “The Goat!” They’ll
both be in the store Saturday July 13th at 10am to celebrate the release
of the new Quantum & Woody #1 from Valiant Comics. The Summer of Valiant
continues with this comedic adventure, and Valiant has put a lot of talent on
the book, including art by Tom Fowler (Hulk: Season One, Venom, Mysterius The
Unfathomable), regular covers by Ryan Sook (X-Factor, The Spectre, Wednesday
Comics: Kamandi) and colors from Jordie Bellaire (The Massive, Mara, Nowhere
Men). Additionally, a CGC Representative will be on-hand to verify signatures
for those of you interested in submitting books for professional grading and
slabbing. I will NOT be working this event due to some prior commitments
that’ll take me out of town, but if you’re in San Diego, then please stop by
and support my friend Michael, owner of Yesteryear Comics, the region’s best
retailer. For more information, jump in and follow @YesteryearComic @JamesAsmus
@ThirteenMinutes or check out Facebook.com/YesteryearComics.

The Invincible Haggard West @ Comics Bulletin

The Foodie Guide To SDCC

Growing up, I worked at three different restaurants, and
ended up managing two of them. After college, I started working professionally
and I used to travel a lot for work, usually about 30% of the time. One of the
things that always broke up the monotony of endless meetings and training
drills and connecting flights was the local cuisine. I love travelling,
exploring new cities, learning new languages, and eating good food, which is
always an easy entry point to culture. Being knowledgeable about cool eateries
in multiple domestic cities or even a few international destinations will
always make you feel worldly. I mean, you’ll never know when being able to
produce the name of a cool sushi place in Denver, Colorado, a roadside BBQ
joint in Austin, Texas, a quirky seafood haunt in Portsmouth, New Hampshire,
the best place to take a large group for dinner in Florence, Italy, or the
location of the best pubs in Sydney’s Darling Harbour will come in handy. I was
lucky to have worked at a very large company that had something like 60,000
employees dispersed around the globe. Working there for 11 years meant that I
knew a lot of people in a lot of places. It didn’t matter what city I found
myself in, I was always surrounded by coworkers, some who became lifelong friends,
that graciously played tour guide and exposed me to the spots that the locals
favored instead of being stuck in hotel bars or touristy areas full of strip
malls and chain restaurants.

Being settled now in San Diego, karma has allowed me to
return the favor. Whenever I have family or friends visiting, I really enjoy
being on the flip side of that equation and playing tour guide myself. It’ll
always be fun to take people across the bridge to Coronado Island for the first
time, to walk under the Little Italy arch with them, or to be knowledgeable
enough to recommend a hotel or camping spot up the coast in Carlsbad. But for
me, these experiences always center back on my love of food. With that
long-winded preamble out of the way, here’s a rambling off-the-top-of-my-head
list of some cool spots I’ve discovered living in San Diego. Keep in mind, even
this smattering of recommendations will barely scratch the surface. San Diego
is the 8th largest city in the United States, has about 1.5 million
people alone in the city proper, with roughly 3 times that amount in the county
comprising the greater metropolitan area. Generally speaking, I will always
encourage the SDCC horde to set some time aside to escape the tourist trap frat
party atmosphere of the historic Gaslamp Quarter and the seemingly endless sea
of punters spilling into the streets during Comic-Con in the nexus between 4th
and 6th Avenues, spanning Broadway to Harbor Drive. San Diego is
incredibly spread out geographically, with plenty of different neighborhoods,
each with it’s own personality and cool spots, so come explore the real San
Diego beyond the Convention Center and the artificial lights of the Indigo
Ballroom at the Hilton Bayfront.

Rei Do Gado: Ok, so
in direct opposition to everything I just said, if you absolutely have to stay
in the Gaslamp, then do yourself a favor and push out to the very edge of the
Quarter and treat yourself to this Brazilian Steakhouse at the intersection of
Broadway and 4th. I’ve been to a dozen or so of this style of
churrascariarestaurant around the
world, and this is one of the best. Yeah, it’s one of those places where
bronzed hostesses who could audition for the failed Wonder Woman pilot seat you
with what you think is a suggestive smile, and gaucho-attired dudes with
genuine South American accents bring large skewers of various grilled meats
around to your table. Rei Do Gado is great because in addition to the
delectable cuts of meat, they also have a glorious “salad bar” that includes
all kinds of fruits and grilled veggies. We’re talking about so much more than
a bowl of iceberg lettuce here though; we’re talking artichoke hearts and
grilled asparagus and sliced mango and hearts of palm and real mozzarella
cheese and melon with prosciutto, etc. You could make a meal out of the side
selection alone. If you need to whet your whistle, they’ve also got caipirinhas
(basically a Brazilian mojito) being served by go-go dancer women up in a cage
(I’m not even kidding). If you’re really brave, you’ll eat a grilled marinated
chicken heart. C’mon, do it. It’s a rite of passage. It’s all you can eat, so
dear lord, please bring your appetite.

Burger Detour: Ok,
I give up. If you really insist on staying close to the Gaslamp, then I also
recommend Zanzibar Café at 707 G.
Street. I think this is technically in the East Village, between 7th
and 8th. If you need a satisfyingly sloppy and robust burger with a
couple decent local brews on tap, this Mediterranean influenced joint is
totally walkable and just far enough out to escape some of the crowd. Me? I
married a girl who is on a lifelong quest for the perfect burger, so here are
some of the better burgers I’ve discovered in San Diego: You’ve gotHodad’s
in Ocean Beach (that’s “OB” if you’re a local and don’t want anyone looking at
you funny) where I’m a fan of the burgers and definitely the shakes, but not
the fries so much. Sorry! It’s a tiny spot frequented by locals and tourists
alike, so be prepared to wait in line 20 minutes or so. Anyway, it’s a “Blue
Jay Burger” you want here, which is a bacon cheeseburger topped with bleu cheese.
You can never go wrong with bleu cheese. Say it with me: you can never go wrong with bleu cheese. Then over in the old
refurbished Naval Training Center complex in Point Loma, that’s “NTC Liberty
Station” if you’re from around these parts (which is a cool historic place you
should see anyway while you’re in San Diego), there’s a ton of interesting
restaurants and businesses, specifically Slater’s
50/50 where nearly all of the burgers can be made with 50% ground beef and
50% bacon. Yeah. Great shakes too. You can also design your own custom burger. "The Big Daddy Melt" is a mammoth. I couldn’t
finish it. And I can finish anything.

Karl
Strauss (Downtown): Once again, if you’re absolutely adamant on staying
downtown for whatever reason and need a quick meal and/or beer from a small
chain establishment, push your way out of the movie studio and video game melee
and head toward the least known location in the Karl Strauss chain near the intersection
of Broadway and Columbia. My friends from the San Francisco Bay Area will
probably compare this to the Gordon Biersch enterprise up north, and that’s
essentially correct if that happens to make any sense to you and resonates.
They’re in an old ivy covered brick building near the base of the W Hotel and
open ‘till midnight. They’ve got an open cask night, typical bar food from
salads to burgers to pastas, and some really decent microbrew. On a hot summer
day, I recommend either the Endless Summer lager or the Windansea Wheat
(basically a Hefeweizen). Don’t for get the orange wedge. If you happen to find
yourself in the small Silicon Valley style tech corridor over in Sorrento
Valley, there’s another somewhat hidden Karl Strauss tucked away in an industrial
area with a secluded garden pond and a first rate Sunday brunch buffet option.

The Brickyard:
It’s such an old-school anti-corporate coffee and tea haven that they don’t
even have a website. They’re tucked away on a weird intersection at Kettner Boulevard
and G. Street, just around the corner from the Manchester Grand Hyatt (recently
featured on the cover of Suicide Risk #1 from Boom! Studios), which is on the
opposite end of Harbor Drive as the Convention Center. While we’re on the
subject, if it’s your first time in San Diego, you’ll probably want to try and
hit the bar atop the Manchester Grand Hyatt, naturally named Top of The
Hyatt, which is usually an after-hours hang out for industry professionals
during con, and offers immaculate views of the bay. It’s 40 stories up and the
tallest waterfront hotel on the West Coast. If they’re packed, my fall-back
option is usually the bar and restaurant (Marina Kitchen, terrific wine room)
inside the Marriott Marquis just a block or so down, which will absolutely do
in a pinch. They also infuse their own vodkas and rums there, which are great.
Anyway, back at The Brickyard, you
can enjoy a quiet place to escape the overweight Slave Leias and get some sun.
It’s got a nice outdoor patio area where you can grab a coffee or tea, rest
your feet, and regroup for another sortie into the Small Press Pavilion.

Bonus: around the corner on Kettner Boulevard, literally
just across the trolley track from The Brickyard, is The Lion’s Share, so come back that night
to this great bar. Many of the bartenders I know in San Diego cite this as their favorite bar, so that’s really saying something. Their
emphasis is on unfettered craft beer and cocktails, but they do have an
extremely interesting and eclectic dinner menu as well, so split some food
tapas-style while you imbibe. Cheese Board (Cow, Goat, Sheep) + Exotic Sausage
Board (Pheasant, Duck, Elk) + Two Rounds of Allagash White Beer= Perfect Evening.

Filippi’s
Pizza Grotto (Little Italy): Filippi’s is a local family owned chain and
one of those things you kinda’ just have to tick off your list of things to
experience in San Diego. While there are dozens of good restaurants and wine
bars in Little Italy – and trust me, you could do much worse than bar hop from,
say, The Lions’s Share, to Craft &
Commerce (“Mother’s Ruin” Punch Bowl!), to any one of the places in Little
Italy – many of them run closer to being fine dining establishments that might
be better suited for taking a date, multi-hour leisurely meals, or could even
possibly make you feel as if your Larfleeze The Orange Lantern tee isn’t quite
proper attire. Filippi’s is also a sit-down place, but it’s super casual,
family friendly, and very reasonably priced. I’ve gotten out of there by
splitting a medium pizza, a salad, and a bottle of decent wine for 30-something
bucks! It’s also the first in the chain, started in 1950 by Italian immigrants,
so you’ll get your precious dose of history. You actually have to walk through
the working deli up front, Goodfellas
steadicam-style, back past some mysteriously marked doors to enter the main
restaurant. Don’t forget that bottle of Pinot Grigio, served in little shot
glasses just like you’re sitting in my grandpa’s kitchen while sipping grappa
and telling stories on a lazy afternoon. Salud!

Lucha Libre:
Alright, we’re finally out of downtown and moving toward Mission Hills. This
place was featured on Food Network and there’s been a line out the door ever
since. Owned by brothers who work there every day, their specialty is
authentic-style Mexican “street tacos” with a twist. There are approximately
1,340,913 taquerias in San Diego, some great, some okay, some shady, and some
downright horrible, but you’ll never eat tastier Mexican food than Lucha Libre.
(As for other Mexican food, I’d recommend Mama Testa in Hillcrest, The Green
Hornet Burrito at Lalo’s in
Hillcrest, carne asada chips or bacon breakfast burritos at Roberto’s,
Alberto’s, Aliberto’s, Alejandro’s, or Rigoberto’s). Back at Lucha Libre, from
the fresh made tortillas, to the quality of the meats, to the savory sauces,
it’s totally memorable. Wear a Mexican luchador mask and receive a discount.
Call ahead and make reservations for the golden Champion’s Booth (pictured above) – really,
there’s nothing like this for ambiance. I highly recommend it. Don’t order a
California Burrito, you gringo. If it’s your first time, then I recommend
ordering one Surf & Turf Taco and one Queso Taco w/ Chicken. If you’re
still hungry after eating delicious carne asada with grilled shrimp, or cheese
fried crisp between two corn tortillas, and drenching it all in the mild elixir
known only as “the green sauce,” then go crazy and top it all off with a
Tijuana Hot Dog. That’s a hot dog wrapped in bacon, of course. The place is
loud, cramped, and hot, so you’re gonna’ want a fountain drink. Hear me when I
say that the only acceptable choices are Horchata or Orange Bang. Don’t even
talk to me if you don’t get one of those.

The Regal Beagle:
The great thing about having tacos at Lucha is that just two blocks down the
way on India Street, there’s a fantastic bar called The Regal Beagle for you to
drench those tacos in. They’ve got something like 24 beers on tap at all times (pictured above),
and the selections rotate pretty regularly. I’ve never seen the board the same
on any two visits. San Diego is quickly becoming the craft brew capital of the
world, so they tend to feature local brews like Ballast Point or Green Flash
(no relation to Wally West), but there’s all sorts of options to explore.
There’s something happening every night, happy hour, trivia night, open cask
night, wings night, so check their web-site and come early. They’ve got it all,
ciders to IPAs, porters to stouts, ales and lagers to jalapeno and bacon laced
beer, to something insane called Indra Kunindra (hints of cocoa, cayenne, lime,
and coconut). If you play your cards right and still have room for eats, the
sausage sampler platter is ridiculous. It features custom made sausage from a
company up in San Marcos, with varieties like Moroccan Lamb, German Garlic, or
Hungarian Kolbasz (with 20% bacon inside). Seriously, put down the back issues
of ROM: Space Knight and ask yourself
when’s the last time you had a Moroccan lamb sausage? Jack, Janet, and Chrissy
won’t be there, but get to know terrific bartender Hannah and she’ll surely
give you a couple beer samples and make a fantastic recommendation.

Empire House: In
short, this is one of my favorite hangs in San Diego and I recommend it
profusely (pictured above). I’ve taken family, friends, and coworkers so many times I’ve lost
count. I’ve hosted work functions there. I follow them on Twitter. C’mon, who
follows restaurants on Twitter? This place is in Hillcrest and is literally up
the hill on University Ave., a short hop from Lucha Libre and The Regal Beagle.
For the adventurous, I recommend a circuit of drinks at The Beagle, followed by
more drinks and some apps at Empire House. It’s a fantastic way to spend an
afternoon that stretches into an evening. No matter if you’re going for drinks,
apps, or a full meal in this converted two-story house, you simply have to
order the Red Miso Wings. They arrive piping hot from the kitchen, with one of
the best glazes around. Sweet, savory, spicy, and perfectly crisp. The Cuban
Sandwich is good, all of the salads are good, and the sausage bread is totally
unique, but if I’m looking for something more hearty I’ll usually order up a
plate of “casters.” These are basically EH’s rendition of sliders, which you
can mix and match, all with a homemade pickle riding shotgun. The staff is
probably the friendliest in San Diego; every time I go I get into an
interesting conversation with our server or even one of the owners, who just
might be the person making your drink. Speaking of, they have these delicious
“pint and a half” cocktails that arrive in one of those old mason jars,
featuring playful and refreshing concoctions like Blueberry Basil Lemonade or
the Raspberry Beret, involving mottled raspberry with vodka and ginger beer.
Delicious.

Lefty’s Pizza: If you
didn’t make it to C2E2 and you’ve still got a hankerin’ for Chicago-style pizza
with that textured cornmeal crust after having a few drinks at The Regal Beagle
or Empire House, then head over to this place. It’s tucked back on Goldfinch
street, off of Washington Avenue, on the border between Mission Hills and Hillcrest.
Grab an intimate wood booth in the back and unwind with a Spinach Supreme
(spinach, mushrooms, basil, elephant garlic) or a Monster of The Midway
(sausage, pepperoni, hot giardiniera, elephant garlic). If I recall correctly,
they don’t have anything on tap, but do feature some interesting bottled beer
selections. If you can still walk after that, head around the corner to
M-Theory Music, one of the last independent music/record shops in San Diego,
which also happens to have a small selection of locally produced mini-comics
available.

FURTHER NORTH
(Interstate 5): If you’ve come this far, perhaps you’re willing to go a
little further? If sushi is on your mind, the absolute best quality sushi joint
is Sushi Ota
in Pacific Beach (but make sure you say “PB” or the locals will look at you
funny). Reservations are definitely required because 15 minutes before they
open, a line forms 20 people deep in the little parking lot. You’ll be greeted
by classically trained Japanese sushi chefs who line up like Samurai flanking
the freshest fish in the county. If you continue North up the 5, you may also
be interested in Sushi Solana (no web-site, but it’s in Solana Beach right
along Highway 1 about a block off the beach), who offer an insanely reasonable
All You Can Eat menu for something like $20. Typically, AYCE sushi menus have
pre-made items that maybe sat around a while, but Sushi Solana’s fun selection
of rolls is all made to order. If sushi doesn’t suit your mood, the last stop
on our North 5 Food Express this time around is Leucadia Pizzeria, which is on the
corner of Encinitas Boulevard and Pacific Coast Highway (that’s “the PCH”) near
Moonlight Beach. (There’s also another location inland from the Del Mar Race
Track, if you happen to be in that neck of the woods. This one is close to my
house, so if you see some bloke in the corner with two kids taking down a large
Roasted Garlic Chicken, come say hi won’t you?). It’s probably my favorite
pizza in all of San Diego. I consider that an important endorsement considering
that two of the restaurants I worked at were independent pizza joints. Go for
the Goat Cheese, or the Rosemary Chicken Potato, or the Thai Chicken, or umm,
the Shrimp Pesto, the Greek Pizza, or the Pear-Gorgonzola-Arugula, shoot, any
of the pizzas, you can’t really go wrong.

FURTHER NORTH (La
Jolla): If you’re inclined to detour off the 5 and head into the village,
not only can you drive by IDW hq on your way up the 5 (look to the right after
the exits for Garnet and Grand in PB) and then see the old WildStorm building
right on Prospect Street, but there are plenty of decent food options here,
provided you get off “the strip” (Prospect Street) housing the tourists and
high prices, and explore for a block or two inland. If you’re hungry and just
need something on the cheap, the best deal in town is China Chef. It’s a little hole in the
wall that’s far from fancy, but the lunch and dinner specials are around $6 for
a big plate of food. You’ll leave full. I recommend the big ass bowl of wor
wonton soup w/ noodles, one of the few dishes that transcends. Throw some
Sriracha in there to heat those bamboo shoots and little pork dumplings up, and
you’re good to go. Across from the Empress Hotel is a little spot called Aloha Sushi, which is where I
interviewed colorist Jeromy Cox for
anyone keeping score. It’s an eclectic mix of traditional sushi restaurant,
Hawaiian food, and all kinds of Pacific Islander fare, like Filipino lumpia,
etc. Sit outside and take down a tall Sapporo. If you see someone eating a J-Lo
Roll and a Protein Roll while bitching about the ethics of small NPOs, come say
hi won’t you? If Thai food is more your style, just around the corner from
Aloha Sushi is Spice &
Rice. Any of the lunch specials will do just fine; I’d probably recommend
either the Hot Basil, Cashew Nut, or Panang Curry. Lastly, if you’re in La
Jolla and breakfast is what you need, there’s nowhere better than The Coffee Cup. It looks like a vintage
hipster diner from the outside, but inside you’ll find reasonably priced
award-winning cuisine from chef Isabel
Cruz. I’m not even a big breakfast guy, but the rosemary potatoes, amazing
scrambles, and brown rice stir fry concoctions have kept me coming back for
years.

FURTHER NORTH
(Interstate 15): If, for some reason, your travels take you up the 163,
under that bridge at Balboa Park, and onto North 15, fear not, there are still
a couple spots along the way that can save you in a pinch. Exit on Clairemont
Mesa Boulevard and you’ll see one of the other Filippi’s Pizza Grottos in the
chain. Honestly, the ambiance of this one is nothing special, but you’re likely
there for the food, which is just as good as all the other locations. Head east
down Clairemont Mesa just a little further and stop in to see my friend and
retail sponsor Michael at Yesteryear Comics. Tell him I sent you and you’ll
either get a 20% discount or get into a discussion over which title in the
Valiant Comics line is best. Head back west across the 15 and hang a left on
Convoy to hit Tajima Ramen
House. You can’t go wrong with any of the huge noodle bowls here. I
recommend the thin noodles with house tonkotsu broth, the miso broth, or the
curry broth for something more spicy, along with the BBQ pork, the pork belly,
and additional vegetables to get the most out of this noodle house. They also
usually have drink specials like $9 pitchers of really good beer (like, say,
Blue Moon, a great Belgian White); if you know what you’re doing you can get
four perfect pours out of that. Where else can you find 4 pints for $9? Further
up the 15 is an area called Mira Mesa, and if you exit on Mira Mesa Boulevard
you’ll be at yet a third Filippi’s
Pizza Grotto location on the border of Scripps Ranch. This one actually happens
to be my favorite because of the 1970’s lounge atmosphere, where barfly
regulars sit and nurse pitchers while you split a large pizza and take down a
pitcher of your own in one of the dimly lit big red leather booths. It’s a large "The Works" you’re after, hold the
onion. Across the street is a little place called Lucky Donut & Deli, which
is an east coast style bodega where you can get an apple fritter, a deli
sandwich, a candy bar, the newspaper, or a custom smoothie. If you see some
dude in the corner reading the latest issue of The Massive, come say hi won’t you? Now, if you drive and you drive
and you keep driving, you’ll end up in Rancho Bernardo (but you’ll need to just
say “RB” so the locals don’t look at you funny) and the last stop on this leg
of the trip is RB Sushi. It’s
probably the best option if you’re dead-set on an AYCE sushi joint. It’ll cost
you $25 dollars, but if you polish off at least 2-3 of the roughly $10 rolls,
then you’re coming out ahead. The secret to the All You Can Eat menu at RB
Sushi is that you can order off the kitchen menu and also get small plates of
chicken teriyaki, beef short ribs, vegetable tempura, soft-shell crab, gyoza,
firecracker shrimp, house salads, etc. On several occasions, I’ve polished off
$100 worth of food for the flat fee of $25.

FURTHER EAST! I
don’t know why you’d be heading this far east unless you really got screwed on
that janky hotel reservation system, but if you wanted to head East on
Interstate 8, then take Highway 67 into the hills, you’re eventually going to
see signs for Barona Resort & Casino.
It’s at least a half hour drive from downtown, but if another All You Can Eat
buffet is what gets you going, this one’s hard to beat. For just $20 ($16 if
you sign up for a free membership card ahead of time online, netting you a 20%
discount – they also send you a voucher for a $5 chip, so now you’re in it just
$11 net on your first visit!), you’re going to get mountains of succulent prime
rib and crab legs, which is basically worth the price of admission alone. But
on top of that, there’s decent Mexican, Italian, Japanese, Chinese, American,
BBQ, Mongolian, salads, soups, seafood, desserts, cheeses, etc., etc., etc.
They even have a Banh Mi cart (paging Daniel Elkin!). But, be careful! it’s
impossible to try everything, so I tend to just focus on prime rib and crab
legs, and maybe a dessert or three. Remember, you are on an Indian Reservation,
so don’t get too rowdy or the tribal police will get you and you don’t want to
recreate any of the scenes from Jason Aaron and RM Guera’s Scalped. Even further east in the dodgy town of El Cajon, you’re
going to find one awful comic shop in a big ol’ warehouse (skip that, rookie,
unless you’re still looking for those ROM:
Space Knight back issues) and head to Greek
Town Buffet. This is really high quality Greek food and is, you guessed it,
All You Can Eat. There’s avgolemono soup, spanakopita, moussaka, gyros,
pastitsio, chicken souvlaki, along with piles of feta, tzatziki, hummus, and
all the rich baklava for dessert that you can shake a con exclusive action
figure at. Have someone else drive because you’ll feel like sleeping on the way
back to Hall H.

FURTHER SOUTH! I
have no idea why you’d need to head further south toward the Mexican border
through the ‘hoods of National City, Chula Vista, and Imperial Beach, but if
you find yourself exiting Plaza Boulevard off the 805 in National City, there’s
a humongous enclave of Asian markets, bakeries, and restaurants here (second
only to Mira Mesa, the largest Filipino population outside of The Philippines).
The only reason to burn up this much fossil fuel is because you’ve heard about
the best salt and pepper chicken wings in the county and you’ve decided to
experience Royal Mandarin for
yourself. I happened to be attending a little lunch party at this Chinese
restaurant on Super Bowl Sunday this year and the place was packed, a line of
about 20 people out the door picking up just trays of the chicken wings, and
there was a phone continually ringing off the hook as the staff scrambled to
fill orders of wings going out by the party platter full. You order by the dozen.
They’re deep fried in the crunchiest batter with just salt, pepper, red pepper
flakes, and green onion stalks. Enjoy.